Ockhams Sampler Extracts from the finalist books in the Booksellers Aotearoa New Zealand Award for Illustrated Non-Fiction at the 2021 Ockham New ...
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Ockhams
Sampler
Extracts from
the finalist books in the
Booksellers Aotearoa New Zealand
Award for Illustrated Non-Fiction
at the 2021 Ockham New Zealand
Book Awards
Booksellers Aotearoa New Zealand
Contents
Award for Illustrated Non-Fiction AN EXQUISITE LEGACY:
THE LIFE AND WORK
OF NEW ZEALAND
4
The Booksellers Aotearoa New Zealand Award for NATURALIST G.V.
Illustrated Non-Fiction at the Ockham New Zealand HUDSON
Book Awards recognises excellence in works — by one
or more authors — with combined strength of illustration George Gibbs
and text. Prize money in this category is $10,000. Published by Potton & Burton
The Illustrated Non-Fiction category in 2021 is judged
by Dale Cousens (Ngāruahine) of the National Library
of New Zealand (convenor); bookseller and former HIAKAI: MODERN
publisher Brian Phillips; and writer, graphic designer MĀORI CUISINE
and magazine art director Jenny Nicholls.
The judging panel says, “The four finalists are standout examples of a
12 Monique Fiso
Published by Godwit,
dazzlingly broad range of passions, from the arts and sciences to food, Penguin Random House
adventure and the outdoors, distilled into beautiful and engaging works
which will hold their own for years to come.”
This Ockhams Sampler gives you a taste of the craft at play in each of this
year’s shortlisted books. You can read the judges’ comments about each MARTI FRIEDLANDER:
22
finalist in blue at the start of that title’s extract. PORTRAITS OF THE
ARTISTS
Look out for samplers of the finalists in the other three categories in the
Leonard Bell
Ockham New Zealand Book Awards. As they are rolled out in the coming
Published by Auckland University Press
weeks, you will find them here:
www.anzliterature.com NATURE — STILLED
www.nzbookawards.nz/new-zealand-book-awards
30 Jane Ussher
Published by Te Papa Press
An Exquisite
Legacy: The Life
and Work of
New Zealand
Naturalist
G.V. Hudson
5
JUDGES’ COMMENTS
George Hudson’s grandson has produced a glorious
tribute to his grandfather, not only one of New Zealand’s
greatest naturalists but also an artist of dazzling skill. In
reproducing so many of these paintings for the first time,
the author is scientifically and artistically scrupulous,
with detailed captions and superb production values.
Crucially, this is also an enlightening and lovingly written
biography — we are drawn inside the world of an insect-
mad fellow who became a significant figure in our natural
history landscape.
Published by Potton & Burton Selected spreads overleaf
6 7
8 9
10 11
Hiakai:
Modern Māori
Cuisine
13
JUDGES’ COMMENTS
Hiakai is no ordinary cookbook but rather one which,
unusually, lets us see our natural environment with fresh
eyes. Coming from award-winning chef Monique Fiso,
it is the result of years of labour and research into Māori
cuisine and all it represents. Passionately written, well
edited, beautifully illustrated and presented, Hiakai
weaves tikanga, history, cultivation, foraging and hunting
into an influential classic of the kitchen, and also of
cultural history; in these recipes Fiso shows the range of
indigenous ingredients with sophisticated flair.
Published by Godwit, Penguin Random House Selected spreads overleaf
K A I M Ā O RI C O O KIN G
M E TH O D S
Hāngi diameter and up to half a metre deep.
Putting down a hāngi is a serious Each family had their own pit and would
business, requiring a high degree of reuse it.
organisation, preparation, fortitude and To begin, a fire was carefully laid in
patience. In the 21st century, a hāngi is a the pit, with wood layered on until level
major event – a style of cooking used for with the opening. Special stones – ideally
celebrations, family gatherings or other volcanic rocks, which withstand high
14 important occasions. For early Māori, temperatures, rather than sedimentary 15
cooking in an underground earth oven river stones that can shatter – were set
was a way of life they’d always practised. on top. A hāngi fire needed to burn for
Hāngi were prepared largely by women at least an hour or two (depending on
while the men were hunting, with the the size of the pit) to sufficiently heat the
food ready for the evening meal. Any stones through so they held enough heat to
leftovers, particularly vegetables, were cook the food when the hāngi was sealed.
eaten the next morning. This part of the process cannot be rushed.
At its most basic, a hāngi is an Sometimes stones were heated in the
underground steam oven. The food – ordinary cooking fire (adjacent to the pit)
wrapped in leaves or in woven baskets rather than in a separate fire laid in the pit.
– is flavoured by smoke from the initial After the fire had been burning solidly
fire, the surrounding earth and the native for an hour or two, the bottom of the pit
plants used. Then, as now, the size of would be a sea of wood ash and white-hot
the hāngi pit (umu) varied depending stones. At this point, any unburnt wood
on the number of people being cooked would be removed and water sprinkled
for and what was being cooked in it. over the stones to wash away leftover
Archaeologists have discovered huge umu ashes (ashes left in a hāngi taint the taste
in the South Island that may have been of the food). The stones were levelled out
used to cook seals or moa. Usually, pits and a woven band of harakeke, called
were much smaller – around a metre in a pae umu, was inserted into the pit to
——————— 53
16
——————— 55
1 ——————— T H E B E G I N N I N G
WHENUA: L AND
HUHU GRUBS grub’s outer shell expands and becomes
Prionoplus reticularis crisp when cooked in a pan of hot oil,
LOCATE D: AC ROS S AOTEAROA adding a delicious crunch.
Dig down into the damp cavities of
rotten logs and you’ll often find one of KĀKĀ
Aotearoa’s finest delicacies – the huhu Bush parrot
18 grub (see page 102). These fat, wrinkly Nestor meridionalis 19
bugs (larvae of the endemic huhu beetle) LO C ATED: I S LAN D AN D COAS TAL
provided a rich source of fat to the early AR EAS ; N EAR P R EDATO R-CO N TRO LLED
Māori diet. Considered one of nature’s AR EAS
greatest little recyclers, huhu grubs munch
through decomposed trees that would The kākā is a large, forest-dwelling parrot
otherwise bury the forest floor. known for being playful and talkative.
Today, most people approach eating Māori often make reference to the kākā’s
huhu grubs with a ‘fear factor’ mentality. chatty characteristics when describing
But while they’ll never win an award for people: someone known for being a
being the most attractive morsel on the gasbag is often described as he kākā waha
planet, huhu grubs taste great and no nui (a big-mouthed kākā). Kākā are greedy
serious foodie should be afraid to give as well as gregarious – they eat a varied
them a go. diet of native berries, seeds, insects, nectar
To enjoy a huhu grub: first grab your and sap, often until they’re too full to fly.
axe. Split a decaying log right down the Kākā were one of the few birds that
middle, then pluck out a grub and eat it Māori kept as pets, often teaching them
raw. As you bite down, a small burst of to mimic other species and using them
peanut butteriness will pop in your mouth. as decoys when hunting. This didn’t stop
If you prefer a less ‘lively’ version, sauté them from becoming food themselves
the grubs with a little garlic and salt. The – kākā were a staple of the Māori diet,
——————— 103F R I E D H U H U G R U B S,
K Ū M A R A G N OCC H I ,
H U H U SAU C E
SERVES 4
Huhu grubs have a mild nuttiness that made me think of satay sauce when I first tried
them. I created a sauce with roasted huhus, and to my surprise it tasted a lot like a
chestnut sauce we served with agnolotti at A Voce, in New York. I decided to serve the
sauce with a kūmara gnocchi as a tribute to my time working the pasta section at A Voce.
FO R THE KŪM ARA GNOCCHI : FOR THE HUHU SAUCE:
200 g kūmara, roasted and mashed 1 T vegetable oil
30 g Parmesan, finely grated 15 huhu grubs
125 g buckwheat flour, plus extra for rolling 1 small white onion, peeled and finely diced
¾ T salt 2 cloves garlic, peeled and finely diced
Finely grated zest of 1 lemon 50 g peanuts, roasted and shelled
2 T olive oil ½ tsp dried horopito flakes (see page 262)
Salt, to taste 100 ml chicken stock
2 T vegetable oil 250 ml cream
Black pepper, freshly ground Flaky sea salt
Ground white pepper
20 Using your hands, mix together the mashed kūmara, Freshly squeezed lime juice 21
Parmesan, buckwheat flour, salt and lemon zest.
Knead mixture with your hands until a sticky dough Set a saucepan over medium heat. Add the oil,
forms. Divide in half. followed by the huhu grubs. Toast the grubs for
Dust a work surface with buckwheat flour. Roll 1 minute, then stir in the onion, garlic and peanuts.
each portion of dough into a long rope, then cut Sauté until the onions are soft and caramelised. Stir
into 2 cm pieces. in the horopito flakes, chicken stock and cream.
Bring a large pot of water to the boil. Add the Simmer gently for 15 minutes. Remove from the
olive oil and a generous spoonful of salt. Cook the heat and pour into a high-speed blender and purée
gnocchi in batches for about 3 minutes. Remove until smooth. Season with flaky sea salt, ground
with a slotted spoon, then drop them into a bowl white pepper and a few drops of lime juice. Pour the
of iced water. Drain gnocchi and arrange on a lined sauce through a fine mesh sieve and serve hot.
tray. Leave uncovered in the fridge overnight.
When you’re ready to serve, set a sauté pan over
medium-hot heat and add the vegetable oil. When
it’s hot, add 1–2 handfuls of gnocchi and sauté until
golden brown and hot in the middle. Season with
salt and black pepper and serve immediately.
158 ———————Marti
Friedlander:
Portraits of the
Artists
23
JUDGES’ COMMENTS
This elegantly produced collection of photographs,
the bulk of which have never been published before,
is exquisitely designed and edited — and the image
reproduction is exceptional. The accompanying text
breathes life into these individuals and, thanks to the
layout, Marti Friedlander’s uncanny ability to capture the
spirit of her subjects shines through. With images of over
110 artists, photographed over several decades, this
important volume is a wonderful cultural account of mid-
to-late twentieth century creative life in New Zealand.
Published by Auckland University PressKeith Sinclair (1922–1993)
Friedlander photographed historian, poet, aspiring politician and friend Professor Keith
Sinclair on several occasions from the late 1960s to the early 1990s: ‘Keith thought of me as
his photographer.’164 Several were used as dust-jacket author or cover photographs for his
books, including The Reefs of Fire (1977) and A Destiny Apart: New Zealand’s Search for
National Identity (1986). Others accompanied articles about Sinclair, in particular when
he was the Labour candidate for Eden in the 1969 parliamentary elections. Labour Party
brochures and promotional material also made good use of Friedlander’s portraits.
Her portraits ranged from the relatively formal to the casual, as in the photograph of Sinclair
with a kingfish he had caught while sailing on Gerrard Friedlander’s yacht. This image,
with its understated wit and irony, was reproduced in multiple places – with Tony Reid’s
Auckland Weekly News article ‘A Professor in the House? New Zealand Intellectual in Search
of a Political Role’,165 in a New Zealand Herald front-page feature article, ‘Man of the People’,
and in Sinclair’s memoir, Halfway Round the Harbour (1993).166
Friedlander first met Sinclair, whom she described as ‘dapper’ and not modest, at a
party on the North Shore: ‘Keith wasn’t a listener. He was a talker. . . . a typical New Zealand
male. He was not a good communicator.’ She noted, ‘[He] is not an easy subject for the
camera, he is always very tense,’167 which Sinclair himself readily recognised: ‘My friend the
photographer Marti Friedlander went to endless trouble to take some good photographs
24 of me – I was tense in front of the camera and could rarely smile.’168 25
A close-up of Sinclair’s face, looking back at the viewer, his expression sombre,
was reproduced with Marilyn Duckworth’s review of his fourth volume of poetry
in the New Zealand Listener (1973): ‘In The Firewheel Tree the lover is as predominant
as the historian, the philosopher is also the fatalist. His cynicism is that of a disillusioned
romantic who will never be completely disillusioned.’169 Friedlander’s ambiguous and
multi-connotational image was an apt choice.
Years later when Sinclair asked Friedlander to take photographs for his memoir: ‘I took
him to the beach [Point Chevalier] to photograph him because that’s where he’d been in his
childhood, hoping that he’d relax.’170
The portrait opposite offers another face.
Keith Sinclair, Auckland, 1969.
160Merata Mita (1942–2010)
[I]f you’re a Maori woman and that’s all you are, that alone will put you on a collision course
with the rest of society and its expectations. And if you flatly refuse to give up your Maori
value system for an easier way of life and you live in a society that is supposed to be bicultural
and multicultural but isn’t . . . then you’ll be in conflict with how that society is run and how
it sees itself. — merata mita 315
Friedlander photographed Merata Mita (Ngāti Pikiao and Ngāi Te Rangi) for Head and
Shoulders: Successful New Zealand Women Talk to Virginia Myers (1986). A full-page black-
and-white portrait features on the page facing the brief introduction to Mita’s reflections.
She fills most of the frame. She sits in semi-profile, hands in her lap, composed, looking to
the right, as if far-seeing – which she was.
Maketū-born Mita was one of New Zealand’s best and most influential filmmakers, both
here and internationally. The director of such justly famous films as Bastion Point: Day 507
(1980), Patu! (1983), Mauri (1988) and Saving Grace: Te Whakarauora Tangata (2011),
she was the first Māori woman director. Her youngest son, Heperi Mita (the son of Mita’s
second husband, fellow director Geoff Murphy), directed the recent film Merata: How Mum
Decolonised the Screen (2018), following her life from childhood and her first unhappy and
abusive marriage in the Bay of Plenty, her escape to Auckland with her children, intermittent
26 work and a hand-to-mouth life, before entering into television as the frontperson for Māori 27
affairs programme Koha in the late 1970s and early 1980s, and then film in New Zealand
and the USA. When Mita, who trained as a teacher, began in film, the medium and industry
here was almost entirely, with few exceptions, dominated by Pākehā men. Pioneer Māori
filmmaker Barry Barclay (1944–2008) and Gaylene Preston (born 1947) inspired Mita, just
as she has in turn been an inspiration for many people in film, especially women, Māori and
indigenous peoples worldwide.316
Mita, an activist for Māori and women, made movies that are impassioned, urgent,
vivid in their imagery, and sustained by empathy and recognition that people are flawed and
make mistakes, yet can also ‘do the right thing’ (a nod to African-American director Spike
Lee and his 1989 film of that name). Mita’s impact was and is huge. Back in 1986 she said
her films would be worthwhile if they make ‘Maori people feel stronger about themselves’.317
She was honoured with a Companion of the New Zealand Order of Merit in 2010.
Merata Mita, Auckland, 1985.
278Francis Pound (1948–2017)
Francis Pound, whose early years were spent in Ohakune and Hamilton, was a child of the
mid- to late-1960s countercultural turbulence. He started as an artist, with a BFA and
MFA from the University of Auckland, then shifted to art criticism and art history, initially
freelance and then while a lecturer in art history at the same university. He was a tutor there
when Friedlander took two art history courses in 1976.324
Friedlander photographed Pound on two occasions: in the early 1980s for the author
photo in Frames on the Land: Early Landscape Painting in New Zealand (1983) and in the
late 1990s for Stories We Tell Ourselves: The Paintings of Richard Killeen (1999).325
Pound’s other books include Forty Modern New Zealand Paintings (1985), The Space
Between: Pakeha Use of Maori Motifs in Modern New Zealand Art (1994), Walters:
En Abyme (2004) – which accompanied a fine exhibition at the Gus Fisher Gallery that he
curated – and his magisterial The Invention of New Zealand: Art and National Identity,
1930–1970 (2009). He also wrote numerous articles for periodicals, especially Art New
Zealand, and essays in exhibition catalogues, some of which he curated, such as the
New Image show (1983) at Auckland Art Gallery. And he guest-edited a special issue of
Landfall, ‘The Fifties Issue’ (1993), in tandem with the big art, design and architecture of
the 1950s show also at Auckland Art Gallery.
Pound’s books were intensively researched, sometimes over many (twenty-plus) years,
28 elegantly written, invariably a pleasure to read, whether or not you agreed with what he had 29
to say. Whether intentionally or not his writing could be provocative, as with Frames on
the Land, The Space Between and The Invention of New Zealand. On one occasion another
leading art writer initiated libel proceedings against Pound, necessitating the professional
assistance of one of New Zealand’s foremost barristers, Paul Treadwell (1930–2017).
The libel action was dropped and Treadwell became an admirer of his client’s writing.
Pound was admired for his stylish clothes (evident in Friedlander’s portrait).
They scored highly in student course evaluations. Little did they know that back in 1967,
in a very different cultural climate, Pound was once apprehended by the police because his
then-ragged clothing was deemed ‘an offence to women and children’. Pound grew up into
a scholar, almost monk-like in his dedication to his objects of study (art and books) and his
touching unworldliness – again suggested by Friedlander’s portrait. (Another disclosure:
Francis and I were old and close friends.)
Francis Pound, Auckland, 1999.
282Nature —
Stilled
31
JUDGES’ COMMENTS
This sumptuously beautiful book presents a wondrous
selection of specimens from Te Papa’s natural history
collection. Brilliantly photographed and produced,
it highlights not just the breadth of these collections
but also the knowledge and passion of those who
care for them. Jane Ussher is one of Aotearoa’s
most accomplished photographers and she has
clearly approached this project with great respect
and enthusiasm for the exhibits which represent our
vanishing natural world, and have never been more
worthy of our attention.
Published by Te Papa Press Selected spreads overleaf32 33
Brissus gigas
Giant heart urchin
Of these three specimens of giant heart urchin,
the one on the left has retained its hair-like coating
of spines while the other two have lost theirs. The
smallest and largest specimens were collected at
the Poor Knights Islands, and the central specimen
030 031 Plate 010 was collected at Whakaari White Island.34 35
36 37
Birds Plate 001 p.012 Kiwi lay enormous eggs, up to 23 percent of the female’s body weight.They Birds Plate 043 p.085 The 42 species of birds-of-paradise are among the most spectacular
Plate 107 p.214 are often described as having the largest egg in relation to body size of any Plate 061 p.129 birds in the world; many have astonishing plumage and courtship
bird, but the situation is more nuanced than that. Some storm petrels lay Plate 092 p.185 displays. The largest and showiest of them all are the six species in the
Apteryx mantelli eggs that are up to 29 percent of the female’s body weight; however, storm genus Paradisaea. The first specimens of the genus to reach Europe
North Island brown kiwi petrels are very small birds, and the pattern across all bird species is for Paradisaea raggiana (via Arabian spice traders) had been preserved for their plumes, with
Kiwi small bird species to lay relatively larger eggs than large bird species. At Raggiana bird-of-paradise their legs removed. As a result, Carl Linnaeus, in 1758, described the
the other extreme, the largest egg of all is laid by the ostrich (the largest greater bird-of-paradise as Paradisaea apoda (meaning ‘legless’). This
living bird), but this is the smallest egg of any bird when expressed as a contributed to the belief that these beautiful visitors from paradise
percentage of female body weight (less than 4 percent). When egg size remained aloft, borne by their gorgeous plumes, until death brought them
is graphed against body size for all bird species, there is one clear outlier: to earth.
kiwi have eggs that are far larger than predicted for their body size when The Raggiana bird-of-paradise was named after the Marquis Francis
compared with any other bird — about six times larger than expected Raggi of Genoa. It is mainly found in southern Papua New Guinea, including
for a bird of 1–2 kg. Perhaps we should say that in relation to female body along the Fly River and around the capital, Port Moresby. Other members
weight, kiwi eggs are unexpectedly larger than those of any other bird. of the genus Paradisaea are found in the north of the country, in Western
New Guinea (now part of Indonesia), or on offshore islands.The distribution
of the Raggiana bird-of-paradise, as well as its large size and spectacular
Plate 026 p.062 The Te Papa research collection contains a large series of Chatham Island
plumes, resulted in it being selected as the national bird of Papua New
snipe and New Zealand shore plover skins collected on Rangatira South
Guinea, and it features on the nation’s flag.
Coenocorypha pusilla East Island in Rekohu Chatham Islands, c. 1900. The specimens have
Chatham Island snipe two different but distinctive data labels attached to their legs, indicating
that they had been in the possession of either Henry Travers or Sigvard Plate 040 p.087 One of New Zealand’s least known extinct birds, the little bittern was extinct
Dannefærd. within 30 years of being formally described. It was named in 1871, based
Travers and Dannefærd were the main suppliers of rare New Zealand Ixobrychus novaezelandiae on a specimen collected at Lake Wakatipu. All subsequent records were
bird specimens to museums and private collectors for several decades New Zealand little bittern from the West Coast, with most of the information about the birds in life
around the end of the nineteenth century. Both men went into the field Kaoriki being recorded by the surveyor Charlie Douglas and the prospector and
themselves, but they were also dealers, sourcing specimens from others bird collector William Docherty.
who visited remote sites, and onselling them to willing buyers. Douglas referred to little bitterns living in ‘such impossable swamps’
Forensic analysis of the labels on these snipe and shore plover that it was no wonder that they were seldom seen. Docherty (quoted by
specimens by the New Zealand Police Document Examination Section Walter Buller) found them on the forested side of coastal lagoons, ‘standing
revealed that a third (unnamed) person had written on the labels, and on the bank of the lagoon, with their heads bent forward, studiously
that they had worked for both Travers and Dannefærd (and had apparently watching the water; at other times I have seen them standing straight up,
been supplied specimen labels by both men). This collaborative study almost perpendicular’. He considered them to be ‘very solitary, and always
38 with the New Zealand Police also revealed that the same mystery person found alone, and they stand for hours in one place’. 39
had collected other notable specimens from around Rakiura Stewart Only 13 mounted specimens or study skins of New Zealand little bittern
Island (and held in the Te Papa collection) that had long been attributed are known to survive, including four in Te Papa, three in Canterbury Museum,
to Henry Travers. and one each in Whanganui Regional Museum and Otago Museum; one
is in Melbourne, and the remaining three in the United States.
Plate 027 p.065 Little spotted kiwi are the smallest kiwi species, with adults typically
Plate 149 p.294 weighing less than 1.4 kg. As a result, they are more vulnerable to stoat Plate 042 p.090 The kākā was abundant in the nineteenth century, and was hunted in large
predation than the four other kiwi species, and are considered extinct on Plate 043 p.093 numbers for food by Māori and European settlers alike. People expressed
Apteryx owenii the mainland. Fortunately, five birds from South Westland were released on concern at its decline in numbers in the late 1880s, and it has been fully
Little spotted kiwi Kāpiti Island in 1912. All the little spotted kiwi known today are descended Nestor meridionalis meridionalis protected since 1907. As with many New Zealand forest birds, it was long
Kiwi pukupuku from these five birds, including about 1200 birds now on Kāpiti Island (the South Island kākā thought that clearance of forests for farming was the main cause of the
largest population). kākā’s decline.
Kiwi chicks are fully feathered when they hatch out of their enormous Kākā have become common throughout the Wellington Town Belt after
eggs. Weighing less than 150 g, they look like miniature adult birds, and are they were reintroduced to the predator-proof-fenced Zealandia sanctuary
able to forage for themselves within a few days of hatching. In the absence in 2002–2007. The town belt comprises mainly over-mature pine trees
of introduced predators, little spotted kiwi have a mean life expectancy and low-stature native shrubs, with an almost complete absence of the tall
of 45 years. It is likely that some birds live to a much older age; however, native canopy tree species found in surrounding forest parks. In contrast,
marking studies have not been running long enough to confirm this. however, nearby Remutaka and Tararua forest parks have largely intact
The genus name Apteryx means ‘without wings’, but this is not quite native forests — but kākā are rare or absent. How can this be?
true: their tiny wings have just a few feathers, which are similar in length We now know that introduced stoats killing female kākā and their chicks
and structure to the shaggy body feathers that conceal the wing. The in their nest-holes was the main reason why kākā disappeared from much
oldest fossil kiwi found is estimated to be 19–16 million years old, but it of the mainland. In the absence of nest predation, kākā are able to thrive
is not known when they lost the ability to fly. in highly modified habitat that, until recently, was considered unsuitable
for them. It was unsuitable only because it was overrun with rats, stoats
and possums.
314 Nature—Stilled 315 Species InformationGeorge Gibbs Monique Fiso
An Exquisite Legacy: The Life and Hiakai: Modern Māori Cuisine
Work of New Zealand Naturalist
G.V. Hudson
40
The Ockhams Samplers were compiled with the assistance of the
Academy of New Zealand Literature.
Leonard Bel Jane Ussher Look out for the other category samplers at:
Marti Friedlander: Portraits Nature — Stilled
of the Artists
Join us at the Ockham New Zealand Book Awards ceremony on
12 May, during the Auckland Writers Festival, to hear all the finalists
read from their shortlisted books, and the winners announced. And
seek out these fantastic books in bookstores and libraries countrywide.You can also read
